|
|
|
|
|
|
|
|
|
|
|
|
|
my rating |
|
|
|
|
|
|
|
|
|
|
||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
0099514176
| 9780099514176
| 0099514176
| 3.81
| 3,323
| 1922
| Nov 04, 2008
|
it was amazing
|
One of my new Wodehouse favorites - and I should probably refrain from saying such a thing, since I may end up with so many Wodehouse 'favorites' that
One of my new Wodehouse favorites - and I should probably refrain from saying such a thing, since I may end up with so many Wodehouse 'favorites' that I'll have a hard time telling them apart. But, in this case, I do have a main reason for saying so. I'm discovering that there can be an element in the earlier Wodehouse works that sets them apart from the latter ones. ~by that I refer mainly to any of the 'series' novels. By the time P.G. branched out into books that would lend themselves to sequels, he sort of fell into a pattern. I don't so much mean a pattern of repetition - since, through his fluid language, he still brings a freshness to sequels - but a pattern nevertheless of a certain familiarity, stemming from established groups of people with set, unchanging characteristics. We become comfortable with the series characters in a way that makes added development less important than farcical situations (which, admittedly, can have a certain sameness, even though they still 'work'). I've now read 5 or 6 of the early-career novels - and they have a clear focus on depth of character. From what I can tell, these are people who, seemingly, are not going to end up as 'series characters'; we're not likely to come across them again in later books. So it seems we get to know them better in their one time at-bat. A prime example appears to be Sally in 'The Adventures of Sally'. She is, quite simply, one of the author's best depictions of a modern woman. At age 21, Sally - an American (we're in New York City) - inherits money. Yet her sudden wealth doesn't much alter her personality: Like so many alert and active-minded girls, she possessed in a great degree the quality of interesting herself in - or, as he brother Fillmore preferred to put it, messing about with - the private affairs of others.Basically, Sally just wants to see the people around her - mainly the ones she feels closest to - being happy Her own happiness is something she spends less time on. Yet she knows her character's worth. She quietly champions the intelligence in women that's born of necessity... in dealing with men. She as much as says so to her less-practical brother re: the woman he wants to marry: "... And she's got brains enough for two, which is the exact quantity the girl who marries you will need."A sub-focus of the story unravels how Sally's altruism may be the cause of her undoing - but she has too much pluck and nerve to be undone. Not that she understands herself completely - who ever does; and Sally can't seem to register when she's genuinely in love... which is rather hilarious. In various ways, three men play with her heart... but it will take a pure heart to win hers. A significant amount of 'TAOS' is set against the theater world - which Wodehouse has done elsewhere occasionally but here it's in fuller, detailed force. As well - and surprisingly - P.G.(in certain sidebars) shows he knows quite a bit about both rugby football (!) and boxing (!). Wodehouse affords Sally two notable instances in which her character is plumbed for strength: once when she's heartbroken (which Wodehouse wonderfully takes several pages to capture) and once (well, sort of twice) when she's suddenly faced with personal male fury (which she handles courageously in a bemused manner). Naturally, as always with Wodehouse, this stunning concoction is all designed as entertainment - but, dare I say, here we find P.G. embracing a tone that has a singular maturity... while being breathlessly funny. And to think... this novel is now just beyond being 100 years old... yet it is as fresh as a daisy in full bloom! ...more |
Notes are private!
|
1
|
Sep 09, 2024
|
Sep 15, 2024
|
Sep 09, 2024
|
Paperback
| |||||||||||||||
0316013358
| 9780316013352
| 0316013358
| 3.86
| 617
| Nov 01, 2006
| Nov 01, 2006
|
it was amazing
|
A comic masterpiece - which seems to have only gotten better since it was published almost 20 years ago in 2006 (when I first read it). Can jokes actu
A comic masterpiece - which seems to have only gotten better since it was published almost 20 years ago in 2006 (when I first read it). Can jokes actually become funnier with time? This novel makes the strong case that they can! 'MLS' is the third 'chapter' in the Philip / Gilbert / Claire series that Joe Keenan (who served as writer-producer for 'Frasier' for seven years) began with 'Blue Heaven' and continued with 'Putting on the Ritz'. While all three are exemplary as laugh-fests, 'MLS' may be the best of the lot. Or maybe it feels that way since it seems to be the longest. Or maybe I think that because I need to re-read the previous entries. Or maybe there doesn't need to be a 'best' when they're all so good! In 'Putting on the Ritz', Keenan's oddly aligned 'three musketeers' took on (and were nearly taken out by) the Mafia. In 'Blue Heaven', they traipsed their wayward way through the publishing industry. With 'MLS', Philip and Claire have (again) been finagled by Gilbert. this time to become screenwriters - without the fuss-and-bother of the years it can take to work your way up in the Hollywood system. Using his mother's aging Hollywood producer-husband as a springboard - and a mostly-cribbed script of 'Casablanca' with a new title page as a calling card - Gilbert all-but-sashays his way to the dream job of writing for a (married and closeted) megastar and his actress mother whose career is in need of a Heimlich maneuver. What starts out as a more or less plausible ploy (on Gilbert's part) is, unbeknownst to Philip and Claire of course, laced with deception and outright lies (there's no mention of 'Casablanca') - and, naturally (since they've already survived his trickery in two previous novels), P&C should know better than to hitch to Gilbert's scheme. (How, in fact, did the three ever become and remain friends in the first place? But this is farce, so practical questions aren't encouraged.) This is where the plot construction really kicks in - and, once it takes off, it's a breathless, uninterrupted, domino-theory locomotive. Mainly because the fraudulent job-entry isn't enough. Someone in particular gets wind of it - and that someone turns out to be the megastar mother's sister; also an actress, on the skids (though she denies it), dangling a proposed tell-all that could wreak havoc on her sister (and her secretly gay son). Oh, and there's also Gilbert's (ahem) 'ex', Moira (first seen as a co-star in 'Blue Heaven'). She's back as a unique addition to the overall machination. Without her, we would not have the added, deliciously madcap splendor that is Chapter Seventeen - as hilarious as it is steamy. And it *is* steamy. Keenan adorns his magnum opus with no shortage of verbal ammunition. A good deal of the humor will appeal to readers who have a thing for past / present celebrities: Be wry, I admonished myself. Be bland. Think David Niven.But the bulk of it is likely to affect that funny bone that just wants to be tickled: Gilbert, as a rule, used money the way women used pepper spray; he liked having some handy but only produced it when physically threatened. Fans of P.G. Wodehouse will note that Keenan learned quite a bit from 'His Master's Voice': things like... keep it moving, add duplicity and complication whenever possible, dovetail one person's exit with another's entrance (esp. at the end of a chapter) and, most significantly, let as many characters be funny as you can (except the ones for which you hold particular disdain - and, even then, maybe allow a chuckle). In an interview at the back of the current paperback edition, Keenan is asked if readers can expect a fourth entry in this series. The author answers with: "We live, alas, in a nation where there's no shorter route to insolvency than a career dedicated to penning Light Comic Fiction Populated by Homosexuals." However... recently on facebook, Keenan hinted that a new Philip / Gilbert / Claire adventure may very well be in his (and our) near-future. We can only live in hope! ...more |
Notes are private!
|
1
|
May 20, 2024
|
May 26, 2024
|
May 20, 2024
|
Paperback
| |||||||||||||||
1590171993
| 9781590171998
| 1590171993
| 4.34
| 183,176
| 1965
| Jun 20, 2006
|
it was amazing
|
Hands down, one of the saddest books I've ever read... yet, along with a simple fierceness, there's a remarkable beauty in the writing... and it all b
Hands down, one of the saddest books I've ever read... yet, along with a simple fierceness, there's a remarkable beauty in the writing... and it all builds to a 'statement' on mortality that is astonishing. A darker 'Goodbye, Mr. Chips'. My thoughts on a work are rarely this brief but, to be honest, I'm somewhat speechless. I was moved and shaken... more or less throughout. ...more |
Notes are private!
|
1
|
May 02, 2024
|
May 06, 2024
|
May 02, 2024
|
Paperback
| |||||||||||||||
0199538301
| 9780199538300
| 0199538301
| 3.84
| 5,463
| 1893
| Dec 15, 2008
|
it was amazing
|
What a find! In 1893 - roughly 30 years prior to the publication of D.H. Lawrence's 'Women in Love' (1920) - the prolific George Gissing brought forth What a find! In 1893 - roughly 30 years prior to the publication of D.H. Lawrence's 'Women in Love' (1920) - the prolific George Gissing brought forth this scintillating work, which explores male-female relationships in the kind of straightforward manner that Lawrence couldn't quite manage. Although Lawrence's novel has its strengths, it's also sort of overwhelmed by the author's particular eccentricity and poetic vagueness. In its own way, 'TOW' is also laid out on a larger canvas. Unlike Lawrence's work, its focus isn't the narrow harangue that men and women are essentially mysteries to each other. Significantly, 'TOW' takes the larger swipe at societal dysfunction. It makes the claim that society itself dooms relationships due to women's inequality and the male-female imbalances in personal freedom and status as human beings. (Lawrence, of course, also unsatisfyingly dips his tentative toe into the indistinct waters of bisexuality - something the more clearly heterosexual Gissing is not concerned with.) Our protagonist is 32-year-old Rhoda Nunn who, together with colleague Mary Barfoot, has made it her mission to mentor young (labeled "odd") women who (for one reason or another) have been overlooked in the marriage market. Rhoda sees being 'remaindered' as a blessing, since her view of marriage is a dim one. Dim and dismal. She basically feels that, much more often than not, marriage is simply a mistake that leads to misery. And, the way she explains it, she's not wrong: "Our civilization, in this point, has always been absurdly defective. Men have kept women at a barbarous stage of development, and then complain that they are barbarous. In the same way, society does its best to create a criminal class, and then rages against the criminals."To richly illustrate his main thesis, Gissing populates his novel with not only a number of characters who side with Rhoda but also a handful of peripheral, interpersonal relationships which serve to promote or (less often) disprove her theory. While simultaneously aware that her 'gospel' is somewhat impractical for the times she lives in, Rhoda is convinced that one has to start somewhere if meaningful change is to come about. And her goal is far more ambitious than that of Lysistrata: "I am seriously convinced that before the female sex can be raised from its low level there will have to be a wide-spread revolt against sexual instinct. Christianity couldn't spread over the world without help of the ascetic ideal, and this great movement for woman's emancipation must also have its ascetics."Rhoda is resolute: Rhoda... probably desired a union which would permit her to remain an intellectual being; the kitchen, the cradle, and the work-basket had no power over her imagination. As likely as not, however, she was perfectly content with single life--even regarded it as essential to her purposes.But, of course, she is also not only a woman but a human being; one who will soon recognize and parry with that pesky human folly: love: "Please don't make me your confidante, Mr. Barfoot," Rhoda replied with well-assumed pleasantry. "I have no taste for that kind of thing."Mr. Barfoot - Everard - is cousin to Rhoda's colleague Mary. A rather fascinating male specimen, he becomes the catalyst for the larger portion of the novel's drama. And, as the novel progresses, the drama increases, largely as a result of such human frailties as misunderstandings and jealousy. But don't mistake Gissing's novel for soap opera. It's too well-written to be lumped in with that. For a work published about 130 years ago, the construct and tone are remarkably accessible. Gissing is a master at persuasive character studies (esp. women), and he writes dialogue like nobody's business; at times, adding a dash of sardonic wit. I found the novel intensely satisfying. Near its conclusion, there were at least 3 or 4 occasions in which plot-turns worked against expectation. This is the first Gissing novel I've read. I look forward to others. ...more |
Notes are private!
|
1
|
Apr 05, 2024
|
Apr 10, 2024
|
Apr 05, 2024
|
Paperback
| |||||||||||||||
0817358129
| 9780817358129
| 0817358129
| 4.43
| 7
| Jan 01, 1943
| Feb 28, 2015
|
it was amazing
| "... it's not how deep you can see into another person's mind that determines what you really know about him: the important thing is what level of "... it's not how deep you can see into another person's mind that determines what you really know about him: the important thing is what level of your own mind you are able to see him with."I'm continuing my exploration of the work of William March (author of 'The Bad Seed'), having recently read the complete collection of his short stories, published as 'Trial Balance' (1945)... which left a huge impression on me. I've not yet read the novels that preceded this one from 1943, but it seems that 'The Looking-Glass' (the last in March's mythical 'Reedyville, Alabama' series) contains (at least some) characters previously introduced in other works. ~ though, at the same time 'TL-G' doesn't appear to require prior knowledge and flows nicely as a stand-alone. What may be most noticeable about the work is its structure. While 9 out of the 10 chapters generally focus on individuals of the town (the final chapter is a partial reunion set in New York City), the reader will be consistently re-introduced to residents who have already been presented. The idea is to show how - at the beginning of the 20th century - the various people of the town (those who have established particular connections) overlapped with the lives of others with some regularity. This book has been compared favorably to Edgar Lee Masters' 'Spoon River Anthology', a collection of verse poems featuring the voices of smalltown folk speaking from their graves about the ruling aspects of their lives. (I performed in a stage production once and can see how the inter-connected quality in March's novel bears a resemblance, apart from the cemetery setting.) The spectrum of types put before us is fairly diverse in personality but, generally, these are not particularly moneyed people (and the level of some is even lower); they are people getting by as best they can with limited resources / education. That said, the bulk of them stand out for their eccentricities or colorful, high-spirited natures. (And some do eventually make more of a name for themselves.) Of uniquely memorable note is the 'specter' of The Goodwife of Death. A gothic so, of course, spooky figure. Sometimes typical passions are rightly corralled by the town's conservative spirit. At other times, typical mistakes control lives for way too many years. Quite often, misunderstandings and preconceived notions are given a wide berth. At times, the novel soothes with wisdom. While it can also drip with pathos or psychosis, it can also suddenly fall into being wildly funny. In short, a potpourri of riches is on display. March's work deserves to be better-known today. I've suggested to the Library of America folk that they might want to re-evaluate him. March should certainly figure more significantly in classic American literature. ...more |
Notes are private!
|
1
|
Feb 18, 2024
|
Feb 27, 2024
|
Feb 18, 2024
|
Paperback
| |||||||||||||||
081735686X
| 9780817356866
| 081735686X
| 4.42
| 12
| Mar 20, 2011
| Mar 20, 2011
|
it was amazing
|
Southern writer William March is, today, best remembered for his chilling novel of a young female serial killer, 'The Bad Seed' (which I've read and a
Southern writer William March is, today, best remembered for his chilling novel of a young female serial killer, 'The Bad Seed' (which I've read and am about to read again soon). Published in 1954, it was March's final work - he passed away at age 60, five weeks after the book's publication - and, though it quickly became a phenomenal success, March considered it the least of his accomplishments. Previously, he had published five other novels and four short-story collections but it now appears that none of his pre-'TBS' work (including his 'All Quiet on the Western Front'-esque 'Company K' - filmed in 2004) is much spoken of. To say the very least, that is a complete shame. If this marvelous short story collection is any justification (and it seems to me a significant one), anyone who is a fan of 'TBS' owes it to him / herself to track down March's earlier work. (Existing copies of 'Trial Balance' can be a bit pricey though you might get lucky. My university library came to the rescue.) What lies in wait for the unsuspecting reader is two-or-even-three-or-morefold. It will be discovered that, the considerable shock value of 'TBS' notwithstanding, March was not at heart a suspense or horror writer. 'TBS' is an anomaly in that regard. What he was, however, was an exemplar of psychological fiction. Throughout the 55 stories in this collection (several of them O. Henry Prize-winning or collected in Houghton Mifflin's 'Best American Short Stories' series), the author displays an unerring ability in capturing recognizable and relatable human frailty and complexity. More often than not, he manages this with a deceptively homespun directness often dipped in mordant humor. There's a coziness in March's writing that can be simultaneously cutting. For lovers of fine, down-home prose - say, something along the lines of Harper Lee - 'Trial Balance' can be well-worth the scavenger hunt to locate it. Intermittently, March appears to reveal himself obliquely, as in the story 'Not Very - Subtle', through the voice of Hazel: "I guess I got too much imagination and I'm too innerested in people and what goes on for my own good. Mamma is always saying, 'Hazel, your imagination and the way you're innerested in people and what goes on is going to be your ruin yet. I never saw a girl with so much imagination,' she says. 'You ought to be a writer and make money out of it.'"That's exactly what March did. As exhibited in his stories, the author's unbridled imagination seemed to know no bounds - its breadth is actually astonishing - and he apparently made a nice-enough living at using it; enough to be comfortable. There's no faulting his ease with character description, as in 'The Yellow Fields': They were much alike in appearance, both of them being bony, solidly built women who seemed capable of turning even the heaviest mattress with one quick, efficient flip of their wrists.Occasionally in this volume, you will come across a moment - as in 'The Borax Bottle' - that will foreshadow the macabre quality found in 'TBS': "It's quite a gruesome little story; perhaps you'd like to hear it, Clark. It has its amusing side, too. There's an element of pure terror in it, and it has always seemed to me that terror is the basis of all true comedy."As well - though it's but a single instance in the compilation - there's a bit of insight into the closeted homosexuality that lies under the surface of 'TBS'. In 'Mr. Edwards' Black Eye', the titular character relates how he got his eye blackened when he visited a 'bohemian' Greenwich Village club and tried to cut in on two women dancing.: "Mr. Shaddock, that other girl was big and sort of rangy, and she didn't take any pride at all in her appearance. She had a bartender haircut, and she wore a man's coat. When she walked, she swaggered like she owned the place."What Edwards fails to realize is that the women - one of them named 'Tommy' - are gay. If I singled out more of the outstanding stories assembled, this review would be quite longer than it already is. (I'll say that three particular faves are 'A Shop in St. Louis, Missouri', 'Geraldette' and 'The Female of the Fruit Fly'.) Short story collections are notoriously uneven - how many times have you read a review stating that about half of a volume is good stuff, while the other half is under-par? That is far from the case with 'Trial Balance'. I can think of maybe two times here that I felt a story was slightly less than fully realized. For the dominant part, these are expertly crafted, traditional - by that I mean *genuine*- short stories, each lasting mere pages (a few are a single page); more or less running the gamut of the human condition. I'd certainly call 'Trial Balance' a find - by all means, discover it for yourself! ...more |
Notes are private!
|
1
|
Jan 31, 2024
|
Feb 11, 2024
|
Jan 31, 2024
|
Paperback
| |||||||||||||||
0345431618
| 9780345431615
| 0345431618
| 4.05
| 14,794
| Feb 1963
| Sep 28, 1999
|
it was amazing
|
It's official - the Nicolas Roeg film version of this novel is garbage. ~ esp. compared with the book, of which the film uses... I don't know... 2%? I' It's official - the Nicolas Roeg film version of this novel is garbage. ~ esp. compared with the book, of which the film uses... I don't know... 2%? I'd seen the movie on its initial release, when about 20 minutes of Roeg's (ahem) 'vision' had been cut by the film's insensitive distributors. At the time, I hadn't of course read the Tevis source but, thinking back, it didn't seem to matter much; the film was essentially incomprehensible. In recent years, I then saw the Criterion blu-ray which restores the excised footage. And lo and behold... it still didn't matter. It was still largely incomprehensible. Roeg (a former DP, and an excellent one; he should have remained one) once said that, as a director he didn't really concern himself all that much with that 'pesky' thing called 'text'. And clearly he didn't. More's the pity. Full disclosure: I'm not a Roeg fan. He fancied himself an... auteur. I also particularly detest how he butchered Daphne du Maurier's 'Don't Look Now'... but don't get me started. Anywho..... I'd read and enjoyed Tevis' Mockingbird' and 'The Queen's Gambit', but (good as they are) neither book quite prepared me for the game-changing wonder of 'The Man...'. It's a startling reading experience - as it takes science fiction to a unique and deeply personal level. If Thomas Jerome Newton isn't the most tragic alien protagonist ever, he's certainly near the top of that list of such. Though I was bolstered by his drive and determination, I was also moved by his... well, alienation and loneliness: a stranger in an inferior land: ... he felt disgusted, weary of this cheap and alien place, this loud, throaty, rootless, and sensual culture, this aggregate of clever, itchy, self-absorbed apes--vulgar, uncaring, while their flimsy civilization was, like London Bridge and all bridges, falling down, falling down.That said, he did also seem imbued with the considerably calm resignation of the confident entrepreneur, keeping his focus on his mission as he battled self-doubt and a nagging fatigue. Considering what he was laboring under, I found his overall spirit admirable.: He felt momentarily like Henry Thoreau, and smiled at himself for the feeling. 'Most men lead lives of quiet desperation.'Newton's congenial contretemps with a trusted ally reveals just how much Earth-folk would need him... if they actually cared to stretch their perception and notice. To make the novel less gloomy than it could have been, Tevis injects welcome humor: "... I am carrying a weapon. I always carry it."I've read that this work was seemingly 'intended' as a metaphor for the experience of alcoholism. Even though there's a fair amount of drinking in these pages (esp. of gin), I don't really see that as the point. I think the book has a much, much larger concern - one that manifests itself in the final (remarkably poignant) chapter. ...more |
Notes are private!
|
1
|
Jan 03, 2024
|
Jan 09, 2024
|
Jan 03, 2024
|
Paperback
| |||||||||||||||
0735225176
| 9780735225176
| 0735225176
| 3.87
| 2,765
| May 07, 2019
| May 07, 2019
|
it was amazing
|
If you have seen Ani DiFranco in interviews in the last few years - that is, if you know who she is - you already know that she has... well, mellowed.
If you have seen Ani DiFranco in interviews in the last few years - that is, if you know who she is - you already know that she has... well, mellowed. She's in her 50s and is on her second marriage (apparently a happy one, complete with two great kids). She admits now to being calmer. [Sidebar for The Initiated: Remember 'Untouchable Face'? She married the guy; hubby #1. They're still friends.] I can't say I was ever a huge fan from the beginning - although she did blow me away in 1996, when she released her 'Dilate' CD; then again 3 years later when she produced 'Up Up Up Up Up Up'. (Her lament for America - ''Tis of Thee' - remains potent for where we are in 2023.) Those two recordings are phenomenal. They were produced when she was in her late 20s and still... well, I don't want to say 'angry'... but she would say 'angry' so I guess I should say that. (Though Lord knows she's always been capable of a lovely ballad - like 'Joyful Girl' or 'You Had Time'.) Let's say she was generally... intense. Yeah, let's say that. Wonderfully intense. Her 'mission' was connected to her commitment as a human rights activist, which intertwined with her (at the time) fluid sexuality and a fiercely exploratory mind. Her memoir covers what seems the first half of her career - which is more or less the first half of her particularly active / creative life. At 15, she was on her own in the world (often in harrowing circumstances). At 18, she had her own recording label (Righteous Babe). It was a hard-knocks road (literally, nationwide and internationally) most of the time, bringing herself up as a singer / songwriter in the folk tradition, mapping out a "misguided" existence while absorbing the harshness of life (as well as a defiantly anti-corporate life) - or keeping it barely at bay. ... I have felt my humanity thoroughly erased many times. At those times, I remind myself: Ani, this is why you can't rely on the affirmation of others for your own self-worth. If you are counting on the big thumbs-up from the world to get by, you leave yourself open to getting slain.I believe she feels that it is mainly music that has sustained her in all facets of her being: Music results in deep empathy for one another and therefore a feeling of wholeness within ourselves.I don't tend to read memoirs by singer / songwriters. Actually, it's possible that this is the first one I've read. ~ which speaks to how I feel about Ani as a unique personality. I'm drawn to her outlook on life as well as her hands-on approach to being human. Her look back reveals a hard-earned wisdom. But writing this book does not mean that she has begun to sum things up. To hear her talk, she's in it for the long haul; she has lots to say and lots to sing, lots to share or pass on continuously - always in "a little kernel of truth". ...more |
Notes are private!
|
1
|
Aug 15, 2023
|
Aug 22, 2023
|
Aug 15, 2023
|
Hardcover
| |||||||||||||||
0743270754
| 4.28
| 189,673
| Oct 25, 2005
| Sep 26, 2006
|
it was amazing
|
If you're looking to read a book about our 16th President, Wikipedia tells us: "There have been 16,000 books and articles published on Lincoln—125 on
If you're looking to read a book about our 16th President, Wikipedia tells us: "There have been 16,000 books and articles published on Lincoln—125 on the assassination alone—more than any other American." I haven't read nearly that many. I've only read this one. If you're going to read only one book about this amazing person, it may be safe to say this is the one to read. I came to it in a roundabout way. I'd been reading Philip K. Dick's novel 'We Can Build You' - in which android versions of Lincoln and his U.S. Secretary of War, Edwin Stanton, appear as characters. Silly, yes - but the thought popped into my head that I wanted to know more about Lincoln in particular. (As Howard ZInn's 'People's History of the United States' showed me, my high school history education was kind of pathetic. That included Abe Info.) This exhaustive work is 916 pp., about 150 of which are notes / index. To say the least, the text itself is remarkable; the experience of learning about Lincoln unfolds as stunning storytelling. Part of that impression rests with the unique structure of Lincoln's political trajectory: election, then bang!: four years of a Civil War, then continued hope, then tragedy. It all seems like a bizarrely compact predestination, set for the purpose of one of those rare but genuinely spiritual shake-ups in humanity. There simply hadn't been anyone at all like Lincoln in the White House. With his passing, there wouldn't be again. Goodwin's biographical tribute makes repeatedly clear that Lincoln was practically preternatural as the guiding political spirit of his day. He reads as an almost other-worldly manifestation of divine wisdom. (Odd, considering that, early in his administration, he didn't necessarily cling to spiritual matters... though later in life he would.) It's kind of freaky to read about it, actually - and it's not like it went unnoticed by those on the perimeter of his impact. Many were those who were continuously reassessing their underestimation of the man. He was often suspected of 'not being up to the task', only to prove himself capable of surpassing expectations. (Along the way, he could often, as a result, attract the loyalty of those who might be loath to give it.) This document seems to progressively increase its momentum with each successive chapter. There's a 'dramatic' feel to much of the work, even though it's simply that there's a lot going on almost all the time... leading ultimately, of course, to triumph mixed inexorably with unthinkable sorrow. To Goodwin's immense credit, all of this comes strikingly, vividly alive. Her writing is evocative, unfussy and smooth. She takes an extremely large canvas of characters and depicts them in ways that mark them indelibly as individuals; there's little mistaking who's who. I don't often read historical works like this; if I read something of historical value, it will usually relate to a more-recent history. But 'Team of Rivals' appears to be a work apart; a uniquely captured time capsule that honors its subject much more than admirably. ...more |
Notes are private!
|
1
|
Jul 26, 2023
|
Aug 25, 2023
|
Jul 26, 2023
|
Paperback
| |||||||||||||||||
0525521062
| 9780525521068
| 0525521062
| 4.09
| 58
| 2021
| Nov 23, 2021
|
it was amazing
|
Famed illustrator and satirist Edward Sorel is now 94 years old. He published this incandescent memoir 2 years ago. His intent was not really a summar
Famed illustrator and satirist Edward Sorel is now 94 years old. He published this incandescent memoir 2 years ago. His intent was not really a summary of his life. In his typically self-deprecating manner, he stated to his editor that he didn't think he was that interesting a person. Mainly, Sorel's aim was archival; to gather the best of his work altogether in one place as a keepsake. An examined life didn't seem to fit in. Nor did there seem to him much point. But his editor threw him an au contraire, reminding him of the number of eras and the sheer amount of great, societal changes he had not only lived through but had also pointedly commented on in his art. Surely, she argued, he had a thing or twelve to say in retrospect about all of it. She talked him into it. Not that long ago (2016), Sorel had published another major work, the impersonal yet somehow very personal project that he had wanted for years to realize: 'Mary Astor's Purple Diary: The Great American Sex Scandal of 1936'. To me, that book was a find and a gem! ~ not only immensely entertaining but loaded with a tack-sharp wit surprising for someone nearing 90! Needless to say, I loved it. I also sang its praises.: https://www.goodreads.com/review/show... But I didn't anticipate there would be more to come - and, with this memoir, there's more. Aside from the many many many GLORIOUS examples of the man as artist, Sorel's life is laid out with succinct (and often riotous) simplicity. We get his early years - the years of difficulty in finding his niche - as well as the years of whirlwind activity. He probably wouldn't think it of himself but it turns out he was rather shrewd in the way he handled his career, embracing a tried-and-true dictum: To thine own self be true. Sorel's work covered a wide ground - and a good deal of that ground was political in nature. His leanings have always been socialist and his concern re: The State of American Democracy has always been deep. What he recounts about our within-memory Presidents - most of which tends to not be taught in high school history classes - makes this memoir a sort of sequel to Howard Zinn's 'A People's History of the United States'. Certainly Sorel has had a remarkable life; he writes of it in a very chatty and rather endearing style. It was a treat to experience it at a closer range. In 2011, his son Leo did something similar, by making a 20-minute doc about his dad. You can see that here: https://vimeo.com/30098734 ...more |
Notes are private!
|
1
|
Jun 04, 2023
|
Jun 11, 2023
|
Jun 04, 2023
|
Hardcover
| |||||||||||||||
1883642418
| 9781883642419
| 1883642418
| 3.96
| 959
| 1942
| Sep 27, 2011
|
it was amazing
|
Simply put, a cracking-good novel! Dawn Powell has such sharp insight into human nature - and, here, she whips what she knows into one of her best wor
Simply put, a cracking-good novel! Dawn Powell has such sharp insight into human nature - and, here, she whips what she knows into one of her best works. (Apparently the public thought so as well; when the book was published, it became a bestseller - not something Powell often managed to do, alas.) Decades later, this novel still holds a great deal of its potency (and wit). I'm not sure what else to say (I'm a bit speechless, really) except that I flew through and I loved it! Chef's Kiss! ...more |
Notes are private!
|
1
|
May 22, 2023
|
Jun 03, 2023
|
May 22, 2023
|
Paperback
| |||||||||||||||
0547572514
| 9780547572512
| 0547572514
| 3.74
| 6,001
| 1964
| Apr 16, 2013
|
it was amazing
|
My 9th PKD novel. ~ and this is pretty much a flat-out comedy! WOO-HOO! It's always welcome when Dick interjects humor into one of his books; a number
My 9th PKD novel. ~ and this is pretty much a flat-out comedy! WOO-HOO! It's always welcome when Dick interjects humor into one of his books; a number of them have a somewhat-generous sprinkling. But 'Clans...' is special in that regard. He must have found himself in a particularly buoyant mood. Odd... for a story about a marriage teetering on divorce. When we meet CIA agent Chuck Rittersdorf and his psychiatrist wife Mary, they are right on the precipice. One small fingertip-tap will push them over the edge. But, before we meet those two, we meet The Council on the Alpha III M2 moon, about to convene for a decision that requires solidarity. They're a motley cross-section of mental states; they're vulnerable; they must act fast. But what connection will they have with Chuck and Mary? ~ because, in a way, the battered couple shouldn't be in a sci-fi story. Dick's focus on divorce is a serious one. However, Dick is a sci-fi writer, so into the galaxy they go! And it all becomes fitting after all. As people, Chuck and Mary are essentially 'on different worlds' anyway. The struggle turns metaphorical: "What a foul-up. You and your domestic life; it's wrecking the plans of two inter-system empires, Terra's and Alpha's--did you ever think of it that way?"Without the sci-fi element, we'd be left with just a domestic drama, perhaps one as depressingly detailed as 'Kramer vs. Kramer'. But, because equal time must be given to a space battle, we're only given the hardest punches--the salient facts of the Chuck-and-Mary dispute. That's where the added fun enters. Fleshing out the novel's set-up, PKD doesn't skimp on premise details or comic potential. He surrounds the couple with supplementary characters that increase the wackiness, including a famous TV comedian, a gelatinous entity indispensable as a next-door neighbor, and a surprisingly droll simulacrum (one of two, actually): "I also heard the slime mold declare," Mary said, "that you're not a person but a simulacrum."Dick makes a point of referencing a running motif throughout his work: "... *There is no protection.* Being alive means being exposed; it's the nature of life to be hazardous--it's the stuff of living."He also seems to offer up a window into his soul: "Suppose the tests show no drift, no neurosis, no latent psychosis, no character deformation, no psychopathic tendencies, in other words nothing? What do I do then?" Without unduly complimenting himself--at this point he was well beyond that--he had an inkling that was precisely what the tests would show. He did not belong in any of the settlements here on Alpha III M2; here he was a loner, an outcast, accompanied by no one even remotely resembling him.In passing, PKD offhandedly mentions one of my favorite film comedies--'Kind Hearts and Coronets'--a timeless classic which employs the kind of irreverent tone that 'Clans...' seems to embrace. All told, this is a vibrant departure for PKD; deftly kinetic, endlessly inventive, even--ultimately--rather moving. ...more |
Notes are private!
|
2
|
Mar 08, 2024
Mar 12, 2023
|
Mar 14, 2024
Mar 16, 2023
|
Mar 12, 2023
|
Paperback
| |||||||||||||||
0547572298
| 9780547572291
| 0547572298
| 4.11
| 111,676
| May 1969
| Apr 17, 2012
|
it was amazing
|
Simply put - a mind-fuck. So, of course, the book itself isn't simply put. ~ esp. in its first few chapters, in which you will be introduced to a smal Simply put - a mind-fuck. So, of course, the book itself isn't simply put. ~ esp. in its first few chapters, in which you will be introduced to a small group of characters who largely appear to be speaking a language which (though English) needs to be translated. It's very technical (did PKD study physics?) - and, in their business-transaction conversation, those concerned all understand *each other* - but the reader is simply thrown into this reality without exposition. Be of good cheer. A few quick chapters in, the reader is able to grab hold of the overall plot - making the technical specifics less important. Well, kind of. You'll more or less be able to follow the 'bullet points' of what's going on - enough to press on forward with some kind of confidence. But this novel never really does let up on messing with you. It's the book's modus operandi. It's likely that it's PKD's coded way of saying that this world we live in (in one way or another - or, rather, in many ways) never stops messing with you. And then you die. And then, what?; there's more, for all we know, of being messed with? I won't attempt the plot. It probably could be simplified... somehow... but why spoil the 'fun'? In learning about the book prior, I discovered that a lot of readers seem to get hung up on what various elements in the book 'mean' - but I'm not sure that PKD is necessarily preoccupied with symbolism. (Musician Diana Krall once said, "I'm not really on a mission to tell anybody anything. I'd rather be figured out." When I heard that, it sounded to me like something PKD might've said.) I do think that if, after reading the book, you spend some time contemplating the contents, you may find that it's not as impenetrable a book as it seems (esp. at first). Largely, it works as your basic good-and-evil mystery story and can be read on that level. It can also perhaps be read as a recontextualization of the life (and after-life) experience, with potent commentary on capitalism and a reverence for / an insecurity re: things spiritual. But it's also very angst-ridden. It's rather mired in that. Fortunately, it's not without humor. Take, for examples, the way each chapter opens with a 'commercial' and - even better - the way PKD describes what many of the characters are wearing individually. Good Lord! You may also want to be prepared for the reading experience to be something of a non-stop spin cycle, with elements toppling on each other... and mixed with a layer of paranoia (one of PKD's 'faves'). If you've ever had the experience of life passing before your eyes (as I once genuinely had - the day before I graduated high school, when I was saved from drowning)... it's like that: events and images crashing together (only without the conscious choice of paranoia). As people, we all - or maybe the larger percentage of us - want things to make sense. Without that, we're ill-at-ease. 'Ubik' is likely to leave you with more questions than answers. Or maybe - even better - the kinds of answers that don't need much added explanation... because they're things you have already sensed, and felt were true. ...more |
Notes are private!
|
1
|
Jan 19, 2023
|
Jan 24, 2023
|
Jan 19, 2023
|
Paperback
| |||||||||||||||
0143131869
| 9780143131861
| 0143131869
| 4.23
| 3,432
| 1930
| Jan 16, 2018
|
it was amazing
|
A voice in my head told me to read more of the work by Langston Hughes, reminding me that I'd read his autobiographical 'I Wonder as I Wander', was de
A voice in my head told me to read more of the work by Langston Hughes, reminding me that I'd read his autobiographical 'I Wonder as I Wander', was deeply impressed by it... that that was over 6 years ago (!)... and that I'd best step things up. Having now read this debut novel, I won't need further reminding to make headway. Upon its release in 1930, The New York Times critic referred to it as "very slow, even tedious reading in its early chapters...". Although the review would go on to relent ("... once it gains its momentum it moves as swiftly as a jazz rhythm, its characters emerging ever more clearly and challenging as the novel proceeds."), the reviewer seemed to ignore the fact that readers can be wary of the word 'tedious'; they tend to want reassurance that what they take on will engage quickly-enough. With that in mind, might I interject that 'Not Without Laughter' - on Page One - opens with... a cyclone! What part of a cyclone rings of 'slow' or 'tedious'? The meteorological monster rips through the small town of Stanton, Kansas, bringing death to some, and absconding with the entire front porch of the home of the central family members we're introduced to. That disaster sets the novel's tone, serving to symbolize the precariousness that defines the locale and the lives of the locals. Though nothing that follows the opening is ever as tempestuous, what's related is an unending picture of struggle. We see through the eyes of young Sandy (born James) Rodgers, a boy who is not only uniquely sensitive but also preternaturally wise. Yes, there are times when he's very much an average boy - esp. when he's pushed to the limit by what he feels is unfair - but, more often, he seems to avoid confrontation by the path of least resistance: Sandy had lived too long with three women not to have learned to hold his tongue about the private doings of each of them. When Annjee paid two dollars a week on a blue silk shirt for his father at Cohn's cut-rate credit store, and Sandy saw her make the payments, he knew without being told that the matter was never to be mentioned to Aunt Hager. And if his grandmother sometimes threw Harriett's rouge out in the alley, Sandy saw it with his eyes, but not with his mouth. Because he loved all three of them--Harriett, Annjee and Hager--he didn't carry tales on any one of them to the others. Nobody would know he had watched his Aunt Harrie dancing on the carnival lot today in front of a big fat white man in a checkered vest while a Negro in a red suit played the piano.Starting in the 1910s, the story follows the boy for what seems about a ten-year period, from early years through to the near-end of high school, from a life in Kansas to a move to Chicago. The major events - such as they are - are more like the gradual steps of fate made by those closest to him. But, throughout, Sandy acts as the novel's conscience, fielding internal questions about the things that disturb him: mainly racism, class, organized religion, love, morality, the mechanics of family, and his perpetually unsettled existence. He's an observant young man, reliant on his keen eyes and ears. As is Hughes - who is at his poetic best when depicting places where any type of crowd gathers, whether it be at a yard party, a local dance club, a splendid carnival ground, or the equivalent of a vaudeville house. He doesn't seem to miss a surveyed trick. It might be a mistake to think of this novel as being episodic in nature. 'NWL' is the story of an era that has not entirely left. The narrative heeds to the Fitzgerald notion that "Character is plot, plot is character." The incidents that link together (and interweave) propel the story forward with an edgy inevitability. And then there's the author's way with words - economic, seamless, rich and elegant. ...more |
Notes are private!
|
1
|
Jan 15, 2023
|
Jan 22, 2023
|
Jan 15, 2023
|
Paperback
| |||||||||||||||
1941147631
| 9781941147634
| 1941147631
| 3.99
| 4,108
| 1980
| Jun 30, 2023
|
it was amazing
|
I continue to be gaga over the mind of Michael McDowell. If there's one word that McDowell understood with every fiber of his being, that word is 'got I continue to be gaga over the mind of Michael McDowell. If there's one word that McDowell understood with every fiber of his being, that word is 'gothic'. 'CMOB' reveals that word in extremity. What you have with this novel is the whole jingbang. (Yes, I said 'jingbang', and I stand by it.) In McDowell's relentless hands, this story isn't merely creepy; it's in the realm of terror squared. On its surface, 'CMOB' is the stuff of EC Comics. (In fact, McDowell scripted the 1st and 3rd stories for 1990's 'Tales from the Darkside: The Movie' - the unofficial 'Creepshow 3', which I haven't seen.) But its full effect is in the storytelling. It comes down to craft, and the specific language that McDowell utilizes. ~ not all the time, of course. Much of the first half of this book - with its benign capture of small-town life - appears rather commonplace. But McDowell knows exactly when to ingratiate himself with his uniquely personal take on the unimaginable. He'll catch you off-guard, as the gothic should. This is my third McDowell read - after 'Blackwater' (!) and 'Gilded Needles'. Like those other remarkable books, McDowell, in 'CMOB', creates a specific world, one observed with a scalpel and set apart from anything else he has written. The world here is marked by the mundane; his cast of characters is much smaller - yet, as elsewhere, McDowell slowly weaves a rather complicated interrelation, one that increases in depth as the narrative progresses. Again, his calling card is his range of expression. The way McDowell uses words in the tale's darker elements... well, I can only describe it as 'poetic'; an odd way to refer to it but the spellbinding imagery on display is as alluring as it is unsettling. At one point, McDowell himself clarifies this sensation as "graceful menace". I wouldn't exactly call myself a horror aficionado. There's a lot in the genre - esp. in more modern examples (in books and esp. in film) - that I don't respond well to or appreciate. But, here, McDowell again unveils himself as an ace storyteller, committed to taking the reader to places that resonate in an uncommon way. A film version of 'Cold Moon Over Babylon' - titled' 'Cold Moon' - was released in 2016. To its credit, it does on some level attempt a faithful adaptation. The major scenes and a lot of the dialogue are lifted directly. Still (no surprise), it's not a satisfying experience. At 90 minutes, way too much of the novel is cut - and a surfeit of the McDowell experience is simply gone. ~ particularly that element that McDowell traverses in a refreshingly singular way: the gothic. ...more |
Notes are private!
|
1
|
Jan 08, 2023
|
Jan 13, 2023
|
Jan 08, 2023
|
Paperback
| |||||||||||||||
1613162006
| 9781613162002
| 1613162006
| 3.88
| 2,588
| 1940
| Jan 05, 2021
|
it was amazing
|
Prior to publishing 'The Bride Wore Black' in 1940, Cornell Woolrich had, from 1926 and apparently with little real success, released six 'jazz age' n
Prior to publishing 'The Bride Wore Black' in 1940, Cornell Woolrich had, from 1926 and apparently with little real success, released six 'jazz age' novels (none of which I've read). As Wikipedia tells us, a Fitzgerald-esque novel was more or less "dead in the water by the 1930s when the depression had begun to take hold." Woolrich forged ahead with a seventh, similar novel but, since it didn't sell, "he literally threw away the typescript, dumped it in a dustbin, and re-invented himself as a pulp writer." Somewhere between 1932 and 1940, Woolrich must have had himself a good long think about what possible future he could have; how he could make his mark. In retrospect, it seems clear that, in his ambitious mind, failure was not an option and, as a writer, Woolrich was nothing if not driven. He hit on something soon enough. Somehow he went towards the dark as the likely possibility for renown. Somehow he set his hopes on the criminal mind. What he concocted first - 'The Bride Wore Black' - was (and is) a cunning creation, featuring one of the most complex of femmes fatales, Julie Killeen. Strangely, it ultimately becomes clear that the last thing Julie ever wanted to be was a killer. She was a woman very much in love and over the moon about becoming a bride: One funny thing: on her way out, she gave me a peculiar smile and said, 'I find myself doing so many things these days that I've never done before.'Things changed. In the blink of an eye. And not only did the eye not see what was really happening at the time, it was 'blinded' and sought a revenge as total as Julie's love. For a novice, Julie seems to turn into a mastermind almost immediately. But that's where part of Woolrich's trademark style enters: a willingness - a propensity - to stretch the believable. A good deal of what makes Woolrich's work compelling is his idea that what's unbelievable isn't necessarily far-fetched. (Stephen King would embrace that as well.) Without that element, 'TBWB' just wouldn't be the stuff of noir. 'TBWB' has a decidedly methodical construction. There are 5 victims and the book is neatly divided into sections for each kill. Each time out, one of Julie's new identities is introduced to us in a prologue. We then see how each crime plays out and, finally, become privy to the ongoing frustration on the part of the detective dead-set on solving the case. With each section, the story builds in intensity. And the final section has a couple of double-whammies as the story slides into home plate. In 1968, Francois Truffaut made a film of the novel. It's terrible. (It even has an uncharacteristically lackluster score by composer Bernard Herrmann.) In it, Julie is given almost nothing to say; the idea supposedly being that accentuating the visuals would make the film more, um... electrifying. It didn't. At all. In Woolrich's capable hands, Julie has quite a bit to say - she has 5 whole different 'personalities' in full-fledged situations. Now *that's* cinematic! ...more |
Notes are private!
|
1
|
Dec 17, 2022
|
Dec 22, 2022
|
Dec 17, 2022
|
Paperback
| |||||||||||||||
0547572255
| 9780547572253
| 0547572255
| 3.91
| 42,296
| Feb 1974
| Jul 17, 2012
|
it was amazing
|
UPDATE: I did something that I don't tend to do: a re-reading of a book. I've done that a small handful of times - but, you know how it is: there are
UPDATE: I did something that I don't tend to do: a re-reading of a book. I've done that a small handful of times - but, you know how it is: there are just too many books waiting to be read so the urge is to move forward. However... I noted previously (see below) that 'Flow My Tears...' was only the 2nd PKD book I had read (after 'Do Androids Dream...?'). Upon finishing it, I gave myself the project of reading all of PKD's sci-fi titles... which I spent a good deal of last year doing (overall, to my extreme pleasure and edification). Then, the other day, I felt moved to return to 'Flow My Tears...' since I had stated that it may be my favorite PKD book (after 'DADOES?'). That opinion may possibly still hold. 'Flow...' is simply terrific, and a second reading crystallized my appreciation of the novel's depth. Since I already knew where the novel was headed, certain 'clues' fell into place. In the right hands (but whose?!!), 'Flow...' would make an amazing film. It's compact-enough that a faithful (and marvelously visual) screen rendering is possible, without compromising the content or intent. On this second read, I was particularly taken with two passages of thought (from the mouths of two different characters) that deal with grief - and its intertwining with love. But the book's theme is so richly complex that it leaves the reader with personally relatable fodder. Its dominant message is judiciously summed up in the book's final, two-word sentence.: And loved.Again, I found the book's last two chapters (esp. the penultimate one) deeply moving. I didn't exactly cry (as suggested by the title) but I did feel myself close-enough to tears. ______________ Previous reading: Brilliant! I've read a number of good books this year - some of them particularly good - but this was my favorite, esp. when it comes to complete satisfaction and absence of lulls. (It also wins for 'Best Title'; I'm a sucker for a distinctive / evocative title.) This is only the second work I've read by PKD, following the terrific 'Do Androids Dream of Electric Sheep?' Not surprisingly, the two novels share a somewhat similar tone, but there are marked differences. Primarily, 'Flow...' - its somber title notwithstanding - has a potent, comic bite to it that I don't recall in 'Androids'. ~ not a wild ride of laughs, mind you, but a consistent cynical touch, displayed by a protagonist (Jason Taverner) who, early on, finds himself in a WTF-turnaround situation. In short, his world suddenly and completely changes; or, rather, his place in it does. Or, rather... he wakes up in a hospital, having survived a (bizarrely) horrific attack, only to eventually discover there is nothing on record or on file anywhere that can vouch for his existence. He has no authentic ID. In an alternate reality that otherwise basically looks familiar to him. He's a walking / talking nonentity. Being a super-popular but jaded tv celebrity, Jason is going to have a sardonic attitude about that. And he'll also be something of a fugitive; a pawn in the hands of (what else?) the police state. Things always tend to be much livelier in an alternate reality; kind of like a French farce, only deadlier. And eventually - here - much darker. The actual plot (incorporating a small parade of peripheral women, the way a James Bond novel might) is not all that complicated, it may just seem that way due to some of the sci-fi elements and jargon. None of that should throw you. You. Do. Not. Need. To. Slow. Down. Your. Reading. To. 'Get. It.' All. All that you need to understand will be revealed, just keep going. Now I'll contradict myself, somewhat. Throughout the first half of the book, I took breaks after each chapter - not because I was having a hard time following things but because the chapters (even though on the short side, all of them) are rather rich in action and detail. It's a busy little book. I was savoring. But from the halfway point, I more or less read without stopping, as if moved by centrifugal force. I had been told that PKD's books, esp. those near the end of his writing career (which would include 'Flow...') can be abstruse and vexing, but I didn't find that to be true. I found the writing to be, by turns, engaging, elliptic, straightforward (in its own way), (sometimes menacingly) poetic, funny ("It's probably the man from upstairs. He borrows things. Weird things. Like two fifths of an onion."), teasing, of course tense, and (sometimes) even quite tender (esp. the penultimate chapter; sooo good!). If, after reading, you find there are certain conundrums that leave you restless, YouTube has various clips about PKD - his life and his work - and some of the clips are specifically about this novel. Personally I found them fascinating and I recommend them, to supplement. But my advice is to not watch them prior to your reading of the book. Not so much because of spoilers... but because the 'Flow...' experience is a unique one the first time out. You won't want it to be affected. You will want the full PKD effect. ...more |
Notes are private!
|
2
|
Jan 17, 2024
Dec 03, 2022
|
Jan 19, 2024
Dec 07, 2022
|
Dec 03, 2022
|
Paperback
| |||||||||||||||
1941147917
| 9781941147917
| 1941147917
| 3.99
| 4,894
| 1980
| Jun 2015
|
it was amazing
|
My first experience with a Michael McDowell novel was recently, with 'Blackwater' - which I more or less devoured, all 800 pages. It could easily stan
My first experience with a Michael McDowell novel was recently, with 'Blackwater' - which I more or less devoured, all 800 pages. It could easily stand as the ultimate in Southern gothic horror. And it certainly whetted my appetite for more. I soon turned to 'Gilded Needles' - which 'Blackwater' had not really prepared me for. Not so much that it's the polar opposite of 'Blackwater' but, rather, it quickly shows the author working with a completely different - in a way, more mature - palette. I had the passing thought that 'GN' was a subsequent work but, in fact, it precedes 'Blackwater' by three years (1980). Provided the reader is already familiar with 'Blackwater', the first divergence - on page one - is the approach to the location. 'Blackwater' is set in a rarefied locale, set apart and closed-off from neighboring towns and cities. As a result, even though the narrative runs from the early 1900s through to the '70s, it doesn't feel the need to follow or adhere to cultural or linguistic norms of any decade. But 'Gilded Needles' does. Its time and place - there again on page one - are specific; we're in New York in 1882 and there we'll stay... for a different kind of horror: a story of revenge. As I read, transfixed, I had the sense of that Victorian staple, the penny dreadful. With one of the main characters (the main villain) being a judge, my mind also recalled that 'Sweeney Todd' had premiered on Broadway in 1979 - and thought that perhaps 'GN' had somehow been inspired by the Grand Guignol richness of the Sondheim musical (as McDowell presumably pored over history books for accuracy). But 'GN' is very much its own thing - and the more one reads, the more apparent it becomes that it's very McDowell. Simply put, it's a (very) detailed two-sectioned exercise in set-up and (quite literally) execution. It's a story of the haves pitted against the have-nots, both in terms of social standing. So, although the mood is somewhat Dickensian, it's less a matter of poverty than morality. Those who (though unsavory) don't traffic in the often-hypocritical ways of the blatantly privileged are preyed upon, used ruthlessly as political pawns. (It's quite interesting getting a glimpse of how the political parties differed then.) The novel's visual mood - whether in light or dark - is luxurious. Settings aren't just described; they almost feel like one of the book's characters. The story has a lot of characters, deftly and intricately intertwined. And, as with 'Blackwater', the tale is a marvel of construction - even more so as it develops, with ingenious strokes. As a plus, McDowell's mordant humor periodically rises: There was a short bar to the right, presided over by an enormously fat woman wearing a bright blue dress and quantities of gold jewelry. She wore an expression which said: "When I'm sent to Hell, the devil will contrive no greater punishment than to keep me behind such a bar in such a place as this..."In the latter section, vengeance operates on all cylinders, with some scenes standing out as particularly (and memorably) creepy. Still, McDowell also takes time to breathe by, for instance, painting a compassionate, peripheral portrait of lesbians (esp. one who makes a living as a pugilist). ...more |
Notes are private!
|
1
|
Nov 20, 2022
|
Dec 03, 2022
|
Nov 20, 2022
|
Paperback
| |||||||||||||||
0140175741
| 9780140175745
| 0140175741
| 3.76
| 4,085
| 1995
| Jan 01, 1996
|
it was amazing
|
I looked forward to reading this historical-fiction novel as soon as I knew the basic premise. Fortunately, Barry Unsworth (whose work I did not know
I looked forward to reading this historical-fiction novel as soon as I knew the basic premise. Fortunately, Barry Unsworth (whose work I did not know at that point) realized his concept with both skill and inspiration. This is a short novel but it's rich in plot details and fascinating characters. ~ and language. Perhaps more than anything else, 'MP' is a work of exquisite language. Set as it is near the end of the 14th century in northern England, the book's language reflects a wondrous alchemy, a 'translation' of pre-Shakespearean tongue that is both lovely to read and accessible as an equivalent of what was spoken at the time. Though it does carry its own clear, clever logic, the plot itself is perhaps (on its surface) not the likeliest for its dramatis personae, a small troupe that makes a meager living by performing Biblical stories throughout the countryside. But one of the things that attracted me to the story was precisely this small band of players; the kind you rarely hear tell of in fiction or film. (I had thoughts of such characters in classics like Bergman's 'The Seventh Seal' and Fellini's 'La Strada'.) You'd probably have to have been a theater major (which I was) to have much of an idea of what the lives of such artists were like. But, if not, Unsworth appears to have done an impressive amount of research. His eagle-eyed depiction of the reality of these players is persuasive. And his story hinges on a simple narrative twist. The troupe's leader (Martin) gets the idea of bringing something different (and, esp., innovative) to the repertoire - which is something the players very much need to do if they are to improve their desperate state. In this effort, Martin is prescient: He looked at me steadily. "It has been in my mind for years now that we can make plays from stories that happen in our lives. I believe this is the way that plays will be made in the times to come."Again, necessity proves the mother of invention. ~ but this 'mother' leads her 'children' down a mysterious and ultimately dangerous path, one that (for the reader) drives the novel inexorably in its concluding chapters. Along with the effective way the novel is written, Unsworth creates a chilling atmosphere of an unenlightened time, an era darkened not only by plague but by a rigidly stratified hierarchy. You can feel the widespread and ugly oppression. Still, it's not a depressing work; it's largely an illuminating and textured one. It has much, for example, to say about the distilled perception of truth. It's masterful storytelling on Unsworth's part, but decidedly creepy as it reaches the inevitable. ...more |
Notes are private!
|
1
|
Nov 12, 2022
|
Nov 17, 2022
|
Nov 12, 2022
|
Paperback
| |||||||||||||||
1943910812
| 9781943910816
| 1943910812
| 4.40
| 4,772
| Aug 28, 1983
| Oct 02, 2017
|
it was amazing
|
Southern gothic horror fans, rejoice! This one's a corker! An almost-800 page corker. ("800 pages?!" I heard that.) Yes, it's long but the good news t
Southern gothic horror fans, rejoice! This one's a corker! An almost-800 page corker. ("800 pages?!" I heard that.) Yes, it's long but the good news there is that the pages fly. I occasionally had to slow myself down; otherwise, it would have been like facing a lineup of banana splits, consumed ravenously one after the other. ~ which is not to say there's no meat here. There's a ton of it. It's a pretty hefty story. 'Blackwater' is one of those wonderful the-less-said-about-it-(prior)-the-better books. All you really need to know (since the genre is already telling you what basically to expect) is that you will be reading a family saga set in Alabama, taking place more or less from the turn of the last century through to the '70s. It's an ambitious, business family headed by a tough-as-they-come matriarch (imagine a demented Marjorie Main). And a mysterious young woman enters their lives. She will very quickly work her upwardly mobile way into the lives of the family. Yes, there's horror... on the back burner of the story. Awful things happen - revealing two separate (usually but not always) malevolent forces. But the main thrust of the novel is the family politics - which play out sort of in the way that a woman's picture of the '40s might. Imagine something along the lines of 'The Little Foxes'. Considering the specific atmosphere of the drama, it's no surprise that Michael McDowell was a gay man. (He even includes a rather terrific depiction of a solid lesbian relationship. But then... 'Blackwater' has no shortage of strong female characters.) Stephen King once called McDowell "the finest writer of paperback originals in America today". It makes complete sense that King took to McDowell so easily and deeply. In significant ways, McDowell writes like King - well, if King were a gay man. (I'm not saying the novel is overtly gay; it isn't. I'm referring to its sensibility.) Regarding himself, McDowell once said, "I am a commercial writer and I'm proud of that. I am writing things to be put in the bookstore next month. I think it is a mistake to try to write for the ages." Yet, his work - recently made available again thanks to Valancourt Books - feels strong enough for the ages. He's a marvelous writer and he has more than considerable skill. His writing is vivid, immensely engaging - even, at times, very funny. Some may put it another way: he spins a great yarn. 'Blackwater' was originally published in 1983 as a series of 6 short books which were released once a month. Those volumes are now available in one compact edition. I hadn't read McDowell's work before - but I have now picked up some of his other titles and very much look forward to further exploration.* *UPDATE: I have since read / reviewed a number of other books by McDowell. Overall, good stuff to explore. ...more |
Notes are private!
|
1
|
Oct 16, 2022
|
Nov 06, 2022
|
Oct 15, 2022
|
Paperback
|
|
|
|
|
|
my rating |
|
|
||
---|---|---|---|---|---|---|---|---|---|
3.81
|
it was amazing
|
Sep 15, 2024
|
Sep 09, 2024
|
||||||
3.86
|
it was amazing
|
May 26, 2024
|
May 20, 2024
|
||||||
4.34
|
it was amazing
|
May 06, 2024
|
May 02, 2024
|
||||||
3.84
|
it was amazing
|
Apr 10, 2024
|
Apr 05, 2024
|
||||||
4.43
|
it was amazing
|
Feb 27, 2024
|
Feb 18, 2024
|
||||||
4.42
|
it was amazing
|
Feb 11, 2024
|
Jan 31, 2024
|
||||||
4.05
|
it was amazing
|
Jan 09, 2024
|
Jan 03, 2024
|
||||||
3.87
|
it was amazing
|
Aug 22, 2023
|
Aug 15, 2023
|
||||||
4.28
|
it was amazing
|
Aug 25, 2023
|
Jul 26, 2023
|
||||||
4.09
|
it was amazing
|
Jun 11, 2023
|
Jun 04, 2023
|
||||||
3.96
|
it was amazing
|
Jun 03, 2023
|
May 22, 2023
|
||||||
3.74
|
it was amazing
|
Mar 14, 2024
Mar 16, 2023
|
Mar 12, 2023
|
||||||
4.11
|
it was amazing
|
Jan 24, 2023
|
Jan 19, 2023
|
||||||
4.23
|
it was amazing
|
Jan 22, 2023
|
Jan 15, 2023
|
||||||
3.99
|
it was amazing
|
Jan 13, 2023
|
Jan 08, 2023
|
||||||
3.88
|
it was amazing
|
Dec 22, 2022
|
Dec 17, 2022
|
||||||
3.91
|
it was amazing
|
Jan 19, 2024
Dec 07, 2022
|
Dec 03, 2022
|
||||||
3.99
|
it was amazing
|
Dec 03, 2022
|
Nov 20, 2022
|
||||||
3.76
|
it was amazing
|
Nov 17, 2022
|
Nov 12, 2022
|
||||||
4.40
|
it was amazing
|
Nov 06, 2022
|
Oct 15, 2022
|